CGA

Andrea Callea has been making electronic music since 1997 and has never cared to impress. In fact, Andrea has gone unpublished from 1997 to 2008, when he first exposed what was left of his music (he lost hundreds of tracks for lack of backup) on IRC. Where a random internet friend encouraged him to publish.

Beforehand, he was part of Mi.S.Fu: a (defunct) multifunctional, versatile cross-media laboratory dedicated to mapping, music, 3D, arts.

In 1997, 14c0 (from Mi.S.Fu.) had introduced him to the FastTracker II and to electronic music making, opening an amazing new world. Zero music training and no computer knowledge weren’t an issue. Andrea didn’t even have a stage name and everybody called him liquido. He constantly made music and created hundreds of tracks in a couple of years. His style was dark, obsessive, and purely exploratory/experimental (at least for him).

Besides the lives with Mi.S.Fu, Andrea never thought much of his music. He just created for the sheer pleasure and sake of art pour l’art. Until 2008, when CGA was born (ref: opening paragraph) and lost tracks and old .xm was released. Read the full album backstory on Bandcamp. Subsequently, CGA published a few more albums.

CGA, as a project, has ended around 2011. In 2012, Aner Andros was the evolution to that. With a concentration on internal variety and abstractions, moving from obscure lengthy pieces to denser sound design focused music.

From CGA to Aner Andros, Andrea moved from Linux and Renoise to Mac OSX and Ableton. Studied Electronic Music Production at SAE Institute of Milan to step up his game and to attempt to become a musician full time. With this change, he also thought that going with a label and typically copyrighted music was necessary. Begrudgingly setting aside his most profound convictions of the Copyleft philosophy he had thus far fully embraced and lived. In hindsight, this was an attempt that was worth trying, but always felt like selling one’s soul to the company store.

All things considered, over a decade later, the conclusion is that the attempt (at becoming a full time musician) failed, but his ethos and beliefs never really changed. Tired of the digital outlets exploitation and incredibly low odds, all projects may also be freed from this delusion with a return to the origins: releasing in Creative Commons and not giving a fuck about this abusing circus. Music for personal well-being and creativity’s sake above all.

DISCOGRAPHY